The Spencer Davis Group introduced the world to the precocious soul howl of teenaged Stevie Winwood. That singer and multi-instrumentalist did not fully explore his creativity until he veered out of Davis’s lane and into Traffic in 1967. With the co-leadership of former SDG-roadie Dave Mason, a more distinctly English and whimsical songwriter in the Syd Barrett mode, Traffic created one of the most delightful and imaginative debuts of rock’s most delightful and imaginative year. Mr. Fantasy pools hard rock jamming, raga rock, wyrd folk, spacey ballads, jazz parodies, woodwinds, sitars, harpsichord, and Mellotron without ever sacrificing fully developed songwriting for gimmicks or self-indulgence.
Such precision and concision was still in effect for Traffic’s self-titled second LP, though it was something of a less psychedelic affair. Mason had left the group after their debut due to standard-issue “artistic differences,” but rejoined to help Winwood, drummer Jim Capaldi, and woodwinds-player Chris Wood flesh out a skimpy selection of songs, the best of which is the surreal “Forty Thousand Headmen”. Interestingly, Mason’s contributions include “Feelin’ Alright”, a simple song more in line with the work of a soul outfit like the Spencer Davis Group than wacky Traffic. It became Traffic’s best known song and a genuine rock and roll standard. Winwood definitely should have been allowed to sing it, though. Mason’s vocals are rough throughout the record.
Mason was gone again after the album Traffic, and the band Traffic seemed deader than dead. However, sessions for what would have been Winwood’s first solo album in 1970 organically morphed into a new Traffic album when he asked for Capaldi and Wood’s assistance. John Barleycorn Must Die pointed out a new direction for Traffic. Now the emphasis would be on longer yet disciplined jams and more sincere jazz. Fortunately, the songwriting has recovered after the somewhat half-hearted Traffic and tracks such as “Empty Pages” and “Freedom Rider” rank among the band’s best. The instrumental “Glad” became a classic rock radio staple for decades to come.
